Federico Giannini è giornalista, direttore responsabile di Finestre sull'Arte. Nato a Massa nel 1986, si è laureato nel 2010 in Informatica Umanistica all’Università di Pisa. Nel 2009 ha iniziato a lavorare nel settore della comunicazione su web, con particolare riferimento alla comunicazione per i beni culturali. Iscritto all’Ordine Nazionale dei Giornalisti dal 2017, specializzato in arte e storia dell’arte. Nel 2017 ha fondato con Ilaria Baratta la rivista Finestre sull’Arte, iscritta al registro della stampa del Tribunale di Massa dal giugno 2017. Dalla fondazione è direttore responsabile della rivista. Collabora e ha collaborato con diverse riviste, tra cui Art e Dossier e Left. Al suo attivo anche docenze in materia di giornalismo culturale (presso Università di Genova e Ordine dei Giornalisti). Per la televisione è stato autore del documentario Le mani dell’arte (Rai 5) ed è stato tra i presentatori del programma Dorian – L’arte non invecchia (Rai 5). Partecipa regolarmente come relatore e moderatore su temi di arte e cultura a numerosi convegni (tra gli altri: Lu.Bec. Lucca Beni Culturali, Ro.Me Exhibition, Con-Vivere Festival, TTG Travel Experience).
All the articles by Federico Giannini on Finestre sull'Arte
Enzo Cucchi would say that we have plunged into the age of window dressing. A noun that, it seems, seems to be particularly welcome to those who ply the trade of painter: Italo Cremona used it more than sixty years ago. It was 1958, Cremona was writi...
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It is rare for a measure affecting art to become the subject of wide public debate, just as it is rare for it to make its way into the topics of the day on social media: yet, the announcement of the5 percent VAT on works of art, the long-awaited and ...
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The lack of an agile format dedicated to art has been felt for more than a decade on public television's generalist networks. It has been felt at least since the closure of Passepartout, Philippe Daverio's program that ran for about ten seasons and t...
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Maurizio Faleni's new work shines in the great hall of his Livorno studio, under the light of an early June morning that enhances the aluminum surfaces of his Living Works, living works, the most recent chapter in a research that has always questione...
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The conclusion of the Amerigo Vespucci's world tour offers a cue to recall that the Italian Navy's training ship, these days docked in Genoa, has also taken a number of works of art around the world over the past two years in order to "celebrate the ...
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There is a work by Canova among the colored marbles of the church of Sant'Antonio dei Portoghesi in Rome. It is certainly not counted among his masterpieces, much less listed among his best-known works, and most do not even know of its existence. The...
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Puffy, full, fake, soft, touchable clouds. Folds that look like wet metal. Ivory faces, slightly flushed, delicate, expressive. He is the easily recognizable artist Malosso, and it is probably also to this recognizability that we owe the success that...
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What does art do in the face of the massacre that takes place before our eyes every day in the Gaza Strip? Manuela Gandini, art critic of the Turin newspaper and professor at NABA in Milan, asks this question in an article published the day before ye...
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